Often, hypertext seems clearly defined: narrative, multinlinear (spatial mapping). Some pieces seem to cross codes or mix elements associated with different forms. In fact, when we talk about the three terms above, are we talking about a form (in a literary, "formal") sense, a genre, or a mode of reader interaction? For instance, does a hypertext become a game when there is a win/loss state or when the protagonist is framed as a player? And how does the framework (label) we bring to the experience shape our reading/play and interpretation?
The ELC notes on "Hunt" underscore this terrain of overlap: "the Hunt for the Gay Planet is a text-based Twine game" and "Twine builds on the traditions of hypertext to allow for complex decision management and choice-driven experience design."
Hunt for a Gay Planet
Visual
minimalist design on open - no title 'page'; white san-serif text on a black field; simple "let's find it" link to initiate play.
Title graphic - slightly animated gif
Navigation
draws on text adventure ethos and conventions (go east, go west)
no back buttons
mostly trial/error; no apparent interpretive logic
Logic
returning to a room may seems to change a variable/counter and produce different results. In once case, requiring you to search diligently before finding ... (using variable macro and hook in Twine?)
Once arriving at Lesbonica, "you" have the means to take control of the planet and save it from the evil queen
Literary
Campy ironic use of adventure fiction conventions. Sick puns. Fan-fiction diction. "I am the love that dare not squeak its name..." etc.
At least one ending achieves a "win state"
With Those Who Are Alive
The game opens with a level of customization that invites the player to become connected and even embedded into the game, choosing their month of birth, element, and eye color. As the player becomes a servant to a monstrous larval queen, the stage is set for a dystopia of dream-like and vivid yet mundane violence. After playing, the reader has a tangible record of their own choices and identity beliefs in the drawings on one’s skin.
initial user choices of birth month, skin color, define "character" and effect narrative unfolding
Music is mostly static, mundane. But when activity level changes, it's signalled by a color and musical shift.
Navigation
some screens offer one choice; others a serious of underdetermined links (effectively a dice roll).
"Leave" option signals when you've fully explored an area/set of options.
Weird moments ("Holding my breath" and "sleep" seem to pause the game or reset)
Some pages have options where text TRANSMUTES when you click, rather than taking you to a new lexia/screen.
Was not able to reach an "end" state ... some screens implied, textually, that a later return might produce a different result. Returning to the chambers a fourth time and then sleeping produces a "Message pinned to the door" which produces the challenge (The Empress needs something to wear to ... you have work to do) which leads you back to your workshop. Now on this page, there is the option of getting to work. Then you choose what kind of item to craft, the materials, the glphs to inscribe on it etc.
Elements of strategy or, at least, temporality. You need to visit and navigate before certain choices are available.
IF / Alt Culture
Note that both the authors/composers of these works participate in Game/IF subcultures with funding streams, communal awards, etc. Outside the academy and official literary culture.
Game, Hypertext, Interactive
Often, hypertext seems clearly defined: narrative, multinlinear (spatial mapping). Some pieces seem to cross codes or mix elements associated with different forms. In fact, when we talk about the three terms above, are we talking about a form (in a literary, "formal") sense, a genre, or a mode of reader interaction? For instance, does a hypertext become a game when there is a win/loss state or when the protagonist is framed as a player? And how does the framework (label) we bring to the experience shape our reading/play and interpretation?
The ELC notes on "Hunt" underscore this terrain of overlap: "the Hunt for the Gay Planet is a text-based Twine game" and "Twine builds on the traditions of hypertext to allow for complex decision management and choice-driven experience design."
Hunt for a Gay Planet
With Those Who Are Alive
The game opens with a level of customization that invites the player to become connected and even embedded into the game, choosing their month of birth, element, and eye color. As the player becomes a servant to a monstrous larval queen, the stage is set for a dystopia of dream-like and vivid yet mundane violence. After playing, the reader has a tangible record of their own choices and identity beliefs in the drawings on one’s skin.
See also notes
Elements of strategy or, at least, temporality. You need to visit and navigate before certain choices are available.
IF / Alt Culture
Note that both the authors/composers of these works participate in Game/IF subcultures with funding streams, communal awards, etc. Outside the academy and official literary culture.